Rolling Stones Switch to a New Label - The New York Times The New York Times Music |Rolling Stones Switch Labels Search Continue reading the main story Photo Still a commercial powerhouse: Mick Jagger of the Rolling Stones performed in front of a capacity crowd in Oslo last August. Credit Stian Lysberg Solum/Scanpix, via Reuters Ending months of speculation in the music industry, the Rolling Stones have left EMI, the record label that has released the group’s music since the early 1990s, and signed a long-term recording deal with the Universal Music Group, the company announced on Friday. The worldwide contract covers three new albums and the rights to release the band’s valuable catalog of music recorded since 1971 for about five years, according to people with knowledge of the negotiations who were not authorized to speak about them publicly. The contract calls for an advance of $15 million and brings the Rolling Stones’ entire output under Universal’s roof, since the company had already distributed the band’s pre-1971 music through the Abkco label. EMI will retain the band’s lucrative publishing rights. “Universal are forward thinking, creative and hands-on music people,” the band said in a statement issued by Universal.

“We really look forward to working with them.” The Rolling Stones, whose contract with EMI was up for renewal this year, are the latest in a string of high-profile acts to depart the label since it was bought by the private equity firm Terra Firma last year for about $6.4 billion. Radiohead released its latest album through its own Web site last October, and Paul McCartney left for a label partly owned by Starbucks after complaining publicly about EMI’s new leadership. Among industry executives and analysts, the move was seen as a significant loss for EMI, which has been struggling with financial losses in recent years. EMI is the smallest of the four major labels; Universal, a unit of Vivendi, is the largest. Advertisement Continue reading the main story “It certainly is a blow to EMI in the sense that they have a very strong catalog,” said Russ Crupnick, a senior analyst at the NPD Group, a market research firm. “In the short term they seem to be counting on that catalog to help transform the company.” Though its core members are well into their 60s, the Rolling Stones remain a commercial powerhouse.

The band’s tours have grossed more than $700 million worldwide since 1999, according to the trade journal Pollstar. Universal estimates that the band has sold 275 million albums around the world in its 46-year history. “There is no question that the Rolling Stones are one of the most important bands in music history,” Doug Morris, the chairman of Universal Music Group, said in a statement. As the band has aged, though, sales of its newer material have been dwarfed by the popularity of the older hits. Of the group’s 24 million albums sold in the United States since 1991, only about 3.5 million have been for new studio recordings, according to Nielsen SoundScan. The rest has been for catalog, live albums and other miscellany. In its announcement about the new deal, Universal said that it was planning “an unprecedented, long-term campaign to reposition the Rolling Stones’ entire catalog for the digital age.” The band owns the recordings since 1971, when it released “Sticky Fingers” under its own Rolling Stones Records label. Distribution of those recordings has changed hands several times over the years.

But in 1991 the band signed with Virgin Records, which was acquired by EMI the following year, and the Rolling Stones have stuck with EMI since then. Having superstars on its roster can lend a record label credibility in signing other acts, and the Rolling Stones are the kind of name that can only help Universal in doing business around the world, said Doug Davis, a music and entertainment lawyer in New York. “It’s a trophy for Doug Morris and Universal,” Mr. Davis said. “The business partners that U.M.G. is doing deals with — from branding companies to doing any type of new media exploitations — are not kids in college looking for the next hipster band. The people that run those companies still listen to, love and grew up with the Stones.” A version of this article appears in print on , on Page B7 of the New York edition with the headline: Rolling Stones Switch Labels. Order Reprints | Today's Paper | Subscribe The Rolling Stones: U.S. LP Label History Updated: December 31, 2007 Recognizing proper labels for respective pressings is critical to the particular Rolling Stones LP record collector.

Either by uneducated error or fraudulent omission, record items may be incorrectly represented by some as being other than what they are. This section reviews the vast differences in labels pressed in the U.S.A., some which strongly influence the value of a particular LP, others which make no difference at all, and how to distinguish them. May 1st, 1964 The Rolling Stones first U.S. LP was entitled England's Newest Hit Makers. For this album only, a unique aspect of the cover design clearly identified it as a 1st pressing**. A mention of the free color poster included in all first editions will be located on the lower left-hand side (on Brian's elbow) of the front cover. Much like a book has a first edition, the term first (1st) pressing is **used to describe the initial print run of a particular record album. Further pressings (2nd, 3rd, so on) may be issued by the same company to satisfy a growing demand. In other cases, additional pressings indicate a change in a musician's (or band's) record label affiliation.

Phase ONE: The First Four LPs & "ffrr" First of all, a 1st pressing of one LP may differ greatly from that of another, even from the same production year. Upon the initial success of the Rolling Stones in 1964, London Records (the US equivalent of Decca U.K.) offered mono, then later stereo (electronically re-processed) editions of their first four (4) albums. The Long Players released in this period were: 1. "England's Newest Hit Makers" [released: May 1, 1964] 4. Out of Our Heads [Jul. 30, 1965] note: The Rolling Stones debut album was initially introduced to U.S. customers by way of export from the U.K. These were promotional copies and differed in label design from what we now regard as official first pressings. Track listings for the first four (4) U.S. LPs differed from their U.K. counterparts, and two of these titles were in fact never issued within the U.K. as official LPs.

The major distinguishing factor featured on these 1st pressings will be the boxed LONDON ffrr (full frequency range recording) logo. A lesser-known and oft-overlooked factor is the mention of 'Made in England by the Decca Co. Ltd' at the top of each disc label. This is important, because a LONDON ffrr label does not guarantee a U.S.-market first pressing unless it denotes 'Made In England.' The U.K. exclusively exported the first ffrr label Stones albums to the U.S. Later pressings would feature a 'Made In The U.S.A.' note, but would still be considered first pressings since the same plates were used. A common variation of the ffrr label is the Canadian issue which clearly states Made In Canada. 1. "Made In England by the Decca Record Co. Ltd." 2. London ffrr design. Rare Variations of London ffrr labels: More than a few variations of the mono label have been reported. The true rarity or even origin of these variations may never be factually revealed. Generally speaking, the mono labels should appear in some form of red, brick, or maroon color.

It has been reported that a few editions of the Stones earliest ffrr LPs were pressed in the U.S. for export to other countries and some for the express use of the U.S. military. Directly below you will find a simplified informational grid which contains the known variations for each of the first four LPs discussed. The term 'unlikely' is used to describe a variation which has no known copies, nor is there likelihood that any exist. The term 'possible/unknown' describes a variation of which there is no record but very possibly exists ... 'yes' is self-explanitory. LABEL VARIATION yes yes The commonly used stereo editions of ffrr (known as ffss - full frequency stereophonic sound), were not used on any known Rolling Stones U.S. LP release. This was due to the fact that early LPs were not true stereo, but electronically re-processed from mono recordings. STEREO LABELS - The distinguishing elements are much the same as mono, including the boxed LONDON ffrr (full frequency range recording) and the mention of "Made in England by the Decca Co. Ltd" at the top of each disc label.

The color this time is a pale blue of which a fine example can be seen below. Robert L. Vogelzang You will find that these 'made in England, ffrr' editions do not list the album title on the label. The first mass-produced Stones LPs pressed in the U.S. do not have the ffrr logo. The Made In US/ffrr variation does exist, but was reserved generally for export and limited release. << Reflective navy-blue LP label indicative of the 1st mass-produced U.S. Stereo pressings. As for most artist's recordings in the period of 1964-65, more mono records were pressed than stereo, thus the higher value today for early stereo editions. The Rolling Stones' mono U.S. LP releases become more rare and valuable as the years progressed, culminating in the 1967 release of Their Satanic Majesties Request, which far outweighs the stereo edition in current market valuation. Unboxed London Long Players 2. "Long Playing" printed. rare unboxed stereo variation.

If you had become a Stones fan after they first hit it big in 1965, then you would be quite familiar with the unboxed London labels, which were generally reserved for mono labels, but do exist in a far more rare Stereo form. It did however, represent the first true 100% U.S.A.-pressed editions. Unlike the ffrr labels which were pressed alternately in the U.K. and U.S. Moving into the post-Satisfaction era... the boxed LONDON ffrr is no longer present. Since it was first used in late 1965, these unboxed labels represent 2nd pressings for only the first four (4) Rolling Stones monophonic albums. In terms of valuation, the "2nd pressing" unboxed logo labels are worth 20-25% of boxed ffrr editions imported from England. Important to note - 'made in U.S.A.' LPs (which did not have ffrr labels) featured deeper colors.

Mono-maroon with silver type (instead of pale red), and stereo-navy-blue & silver type (instead of pale blue) would help to identify the earliest pressing of this label variation, as subsequent pressings returned to the pale colors seen on most ffrr labels. By this period, stereo pressings outnumbered mono by about 2:1 or 3:1. This changing of the guard (thanks to Satisfaction) caused mono editions to be quite rare, and only become more so in the following two years. 1. Silver boxed London label. 2. Hyphen " - " after LL instead of space or period. 3. First mention of "Made in U. S. A". The last of the mono labels. For albums beginning with the 1966 compilation Big Hits (high tide and green grass), and ending with Get Yer Ya-Ya's Out in 1970, the deep reflective blue stereo label with boxed London logo represented an initial (1st) pressing. The only ffrr logos to be found on these later albums most often originate from Canada but were produced in other far-flung continents as well. The maroon labels for mono quickly faded in this period, but not before a few titles made it in.

Subsequent mono pressings had a bright red label. The most significant change in this period is not widely discussed, nor is it known by many. After two years of Electronically Reprocessed Stereophonic albums, the first ever TRUE STEREO Rolling Stones album would be 1966's Aftermath. By this time, the mono labels were usually of the bright red kind (though maroon labels do exist), the last of which was 1967's Their Satanic Majesties Request. To this point in Stones LP history, stereo albums had a PS- prefix, whilst mono albums had an LL-3 prefix. Beginning with Big Hits (high tide and green grass) (rel. Apr. 2, 1966), NP- (mono) and NPS- (stereo) were included in the Stones LP catalog. This new LP catalog prefix did not last beyond the Decca/London contract however, and its run ended with 1970's Get Yer Ya Ya's Out (NPS-5).

1970's 1980's Beginning in late 1970 after the initial press run of Ya-Ya's, stereo albums (which represented almost all Stones albums old and new), would have light blue labels with gray lettering. No matter what someone may tell you, this is always a second or later pressing. In the period of 1978-85, London returned to a darker (yet flat, not reflective) blue label which had a small number printed askew on the lower left-hand side. 1. Larger, fancier "LL" prefix / Side "2" instead of "two". 2. "Arranged by... " information added. Collectors have reported label font variations like the one above, but these variations do not indicate specific origin or pressing beyond what is known by the color and design of the logo. There is no known label font variation known to influence value as of this time. Note (seen above) - A rare edition of the Big Hits Vol. 1 album cover, had a unique title font variation pressed. Most of us are familiar with the bold-type, five-line title, but this rare pressing had the group name and title on two lines with alternate, italic type.

1967-Their Satanic Majesties Request: If you think you've figured out how to make the distinction between Mono and Stereo pressings, then this shall surely throw you back a little. As mentioned earlier, a Stereophonic title will clearly be listed as such. Concerning U.S. LP's, these Stereo pressings will be printed exclusively on a blue label. A Monophonic LP would be identified by its red (or maroon)-colored label with the words "Long Playing" written below the LONDON company logo. In regards to Their Satanic Majesties Request, released in late 1967, a uniquely different quality was applied to the Mono and Stereo editions - Mono labels had the sides presented as "Side 1" and "Side 2", while the Stereo labels had sides represented as "Front Side" and 1-"Back Side". However, a not-so-uncommon label variation of this title fuses qualities of the Stereo label, with elements of the mono label. What you have is a Stereophonic LP which makes no mention that it is indeed Stereo, with exception to the NPS-2 catalog number.

The label is blue, yet the label states "Long Playing" under the company logo, as well as "Side 1" & "Side 2", both indicative of a Monophonic label. 1968-Beggar's Banquet: Upon its initial release to the public (Dec. 7, 1968), the Beggar's Banquet LP credited Jagger/Richards as composers of Prodigal Son (two variations of the error are featured on top), when it was indeed Rev. Wilkins' musical work based on biblical lore. Later pressings (correction featured) gave the credit where it was due. However ("don't let 'em fool ya" as Bob Marley would say) - be aware that the label is not what you should be looking at, for proof of its value. The original back cover for Beggar's Banquet (featured above/left) was changed far sooner than the disc label. "Written by Mick Jagger and Keith Richard", and "All Selections Gideon Music-B.M.I.", would no longer be present (as seen above/right) in later pressings.

This is significant because most of the value is in the original disc AND jacket, which is often overlooked, not the disc alone. Who Is "Shelley"? Could it be a reference to famed poet Percy Shelley?, a poet whose 'Adonais' Mick Jagger recited in memory of Brian Jones at Hyde Park, London? Perhaps it was for the Rolling Stones' French press agent June Shelley? In fact, it's neither. This notation is indicative of an item from the Shelley Products Ltd. pressing plant (closed in the mid-1980's) of Long Island, NY and it makes a big difference on the double-album Hot Rocks 1964-1971. On the master plate used for the initial pressing (Nov. 18, 1971) of the album Hot Rocks, alternate versions of Brown Sugar and Wild Horses were featured. These versions first appeared in the brilliant 1970 documentary Gimme Shelter.

Since there was no clear indication on the album cover, sleeve or label, one must look at the trail-off vinyl (the smooth vinyl located nearest the disc label) and look for the word Shelley and the date 11-18-71 to determine if it is indeed a true first pressing and that these alternate takes are present. Brown Sugar sample [Shelley 11-18-71 version] Wild Horses sample [Shelley 11-18-71 version] The identifying mark is not easy to locate or read, but the mystery does not end if and when it is found. It seems that this "alternate pressing" was soon pulled in favor of a set which contained the single versions of Sugar and Horses. However, Shelley wasn't quite done, as the name reappeared for a short time afterwards with either a later date or no date at all. The original Shelley 11-18-71, with the alternate takes, may fetch $1000 USd in Near Mint condition. A second pressing with the word Shelley, with or without a later date, will still get you double ($25-30) a regular pressing ($12-15).

Thus far, reports of 11-18-71, 12-3-71, and 12-6-71 have been clearly identified. One final, important note on determination is thus: you should find Shelley on all four sides of the 2-disc set, but the date (if there is one) of 11-18-71 need only be on side four. It is possible to come across a set that has that specific date on any of the other three sides except the fourth, yet that is meaningless. Reports tell of an edition which has Shelley 11-18-71 on the first three sides, but not on the crucial fourth side. Again, this indicates a later edition and it will not include the alternate takes. Also, the name will may not be written in the same precise manner as in the image shown above. Though it is more common to see script, there are editions that have Shelley in block print. Of all known 11-18-71 (side four) editions, Shelley (though it appears as 'Shlley') is written in script.

This should also help defeat the notion that Shelley was a person with access to the master plate and the cause of this first pressing issue. Even if someone inconsistently spelled their name Shelley, Shlley or Shelly, they would not do it in strikingly different handwriting. Milking the Cow: The Abkco Story (1975) The first three Abkco label titles were all produced in 1975; Greatest Hits (DVL2-0268 mail order only) 2LP set, followed by Metamorphosis (ANA-1), and the extremely rare Songs of the Rolling Stones (MPD-1). The first Abkco label was a boring light blue with an even less interesting logo. The only significant change came in 1986, when to coincide with Stones titles finally released on CD, "digitally remastered" (not really) re-issues were offered on vinyl bearing the boxed London logo which overshadows the Abkco moniker to the left. It was a nice change however, to a strong red & black label.

The discs were printed on 100% virgin vinyl, which is very expensive to produce, and I suppose to make up for not truly being a digitally remastered audio improvement. note- All virgin vinyl discs are partially transparent - holding a disc in front of a light source will allow light to penetrate. 1. The catalog # began with 'COC'. 2. The year is printed below the side. 3. The word " E A S T " may sometimes be present (the T is circled). The longest running Rolling Stones album label is the one featured above. After first appearing on 1971's Sticky Fingers, it ended its run with the Rewind album from 1984. The clearly recognizable Tongue & Lip design is present on the left side, while the catalog number appears above their name. On many of the early editions, the word E A S T can be spotted circling the inner-most vinyl of side two, and penetrating the label in that area. In 1977, all Stones LPs from 1971-73 began their second life represented by the catalog number beginning with 391 instead of 591.

The 391 albums actually first appeared on 1972's pseudo-Stones album Jamming With Edward, but for the other 1971-73 albums with '391', it represented a post-1976 edition. The 791 numbers began with 1974's It's Only Rock and Roll and ended with 1976's Black and Blue. Third Pressings (beginning in 1985) of 1971-84 LPs 1. No more "COC" prefix. Later pressings of the yellow label have an alternate font type, as well as a new form of catalog numbering. Oddly enough, this does not lessen the value in most cases by more than 25%, but there is a difference. The unedited Star Star from the Goat's Head Soup album can be heard only on 1980's pressings. The Return of Mono? During the Stones 'yellow label' seventies, London continued to re-issue their catalog of 1964 to 1970 albums.

It is still uncertain why this took place, yet select pressings of their 1967 Flowers LP which were labeled as stereophonic, were in fact mono. Alternate Font / Other Variations [1971-84] Font variations in most cases usually represent a change in contract from one company to another. For the Rolling Stones, there were many changes, thusly there were many font variations of their album labels. Above you will notice variations in labels for the Rolling Stones first two post-London albums. To the left is an insignificant difference in font type and presentation of the Exile On Main Street label info. To the right would be a slightly more important difference between an original Sticky Fingers (59100), and its counterpart (39105) below, printed five (5) years later. To the less particular Stones collector, as long as the album is accompanied by the original zipper cover, it matters none. Incidentally, a 1971 promotional issue of Sticky Fingers was pressed in mono, making it the last official mono edition of a Stones album. Between 1971-84, all but one US Rolling Stones Records LP contained the Lip & Tongue trademark.

The 1975 compilation Made In the Shade did not feature this mark, and was one of only two albums in this period which did not have yellow disc labels. All but two Rolling Stones Records (RSR) releases had the common yellow label with of course, varying title and credit information. The exceptions were Made In the Shade (above) and 1976's Black and Blue. 1983's Undercover LP wasn't the only label that listed front side and back side tracks, as Their Satanic Majesties Request was the first to feature those distinctive references. Undercover was however, the first (along with Rewind from 1984) not to be represented with a COC prefix, but a series of numbers (90120-1 & 90176 respectively.) What do all those numbers and letters at the bottom of many RSR record labels signify? Though there is unlikely any Stones collector out there whom has bothered to collect all variations of all album labels, for those that care, these numbers will tell you when and where the master disc was pressed. Please see the chart directly below, respectfully submitted by William Brown for your reference.

The first two numbers after the letters ST-RS describe the year. In the case of Sticky Fingers (featured above), the numbers are 71, thus representing the year 1971. The following set of numbers give a more precise (month & day) record of when the master disc was pressed. Three variations are found above, as you will notice, the Record Club of America (RCA) edition does not have the set of numbers on the bottom. For those LOC CODE Specialty Records Corp. PA, Olyphant When the Rolling Stones signed to CBS, and released albums beginning with Dirty Work in 1986, the entire album label would be unique to that title. Even the highly recognizable Tongue & Lip design would be altered for the Steel Wheels release of 1989 - the first, but not the last, time that was done. Virgin hasn't bothered to press US versions of the Stones more recent LPs, but in this age of communication, it doesn't really matter. Though alternative Tongue & Lip designs were introduced back in 1989, only once was this famous image altered physically.

The spiked-tongue variation was a one-shot for the 1994 release of Voodoo Lounge LP and singles from that album. The labels for Voodoo Lounge (white & gray) & Stripped (black) are rather boring, but the excellent packaging of each double-LP set more than makes up for it. Bridges to Babylon (featured above) however, has a nice label design to go along with beautiful packaging. No Security was a disappointment in a sense, as it comes with only plain white inner sleeves. This was though to have been the end of vinyl however, as no standard vinyl edition was produced for Forty Licks. Continuing the long-running trend, A Bigger Bang was released on vinyl on the 27th of September, 2005. A Note to Collectors of New LPs In 1987, it was a widely-held belief that within 5 years, new vinyl records would no longer be embraced by the public. By 1993, the prediction seemed to be realized as numbers of units shipped, as well as total dollar value, diminished to all-time lows. Even in 1990, LPs & EPs were outselling long-form music videos.

Yet throughout the year of 1993, only 1.2 million LPs were shipped from manufacturing plants, with an estimated value of $10.6 million US. With much help from bands such as the Rolling Stones, Pearl Jam, and countless Hip-Hop and Punk groups, vinyl records made a steady comeback in the late 1990s. Beginning in 1994, and with exception to only 1997, the vinyl album has posted double-digit percentage gains in units shipped, as well as total dollar value. In this same period of time, CD singles and Cassette singles & albums, had seen double-digit losses. The final numbers from 1998 showed an incredible 25.9% increase over fiscal 1997 in total new LP/EP items shipped. The dollar value of these titles had more than tripled from the deplorable $10.6 million US in 1993, to an impressive $34 million. Comparatively, full-length CD titles had only seen a 12.5% increase in units shipped in that period.

From 1998-2002, shipments of LPs and EPs had dropped off to around $20 million net annually. They did for the first time however, surpass CD singles in total net dollar value in this time. Since then, though the number of [LPs/EPs] units shipped has dropped to the lowest point since 1993, total dollar value had increased from 2002 to 2003 by $1.2 million. The vinyl single, consistent for some time, saw a major increase in shipments for 2001 - 5.5 million units for a total net of $31.4 million, though has steadily dropped since, posting 3.8 million units shipped in 2003, a decrease of over 14% from the previous year. Color vinyl editions, club editions, picture discs, test pressings, & promotion-only releases for US LPs. Unlike singles, no official color vinyl LPs were ever offered for the US market. A legend persists that a single copy of 12x5 printed on transparent blue vinyl exists, yet it is of questionable authenticity.

A 'Thank You' goes out to Gary Johnson of Rockaway Records who informed me of his sale of the only known blue-vinyl edition of 12x5 for $8,000.00, although to whom it was sold remains a mystery. Also noted was the existence of a multi-colored pressing of Let It Bleed which was reportedly sold to Tom Grosh [Very English & Rolling Stone] for an undisclosed amount. The first US picture disc was a rare test pressing of Through the Past, Darkly (big hits volume two) (1969), maybe only a dozen copies exist, and will be recognized by the cover design of the first Big Hits release. A variation of this same disc contains tracks by Ten Years After on the one side. The first official commercial picture disc was for Still Life in 1982. White Label Promos of Stones LPs have a value of as much as ten times that of regular pressings. The further back you go, the higher number you multiply by. To identify these items, the name speaks for itself. All white label promos are just that - white label versions of otherwise 'color' labels. The word promotion will clearly be printed as well.

Columbia Record Club (CRC) and the Record Club of America (RCA), have been around far longer than the Stones. It wasn't until 1965 when the first "club" editions of Stones albums appeared in select catalogs, yet they remained until the final stock sold out in the mid-1990s. Though record club editions are not often considered by collectors as having any significant value, they are indeed far more rare than regular pressings. Yes, even a Sticky Finger Zipper LP is available in club edition - yet you are not likely to have to pay more for a copy (until??). Songs of The Rolling Stones (MPD 1) was an odd promotional compilation (reviewed in RS PT III ) which contained 30 songs crammed into a single disc. It had an estimated press run of 1,000 copies. The cover shows the Mick Taylor lineup standing in a field, with the Brian Jones lineup inset above and taken from the Between the Buttons photo sessions. A far more rare variation of this title has a cover variation (orange & white) which shows the Stones as they were performing on The Rock and Roll Circus T.V. special.

The Rolling Stones Promotional Album was printed for both the US (RSD-1) and UK (RSM.1). The number of copies pressed has been a topic of debate. It has been a widely held belief for many years that it had a total press run of 400 copies, 200 for US and 200 for UK. Both of these estimates may be incorrect. Though Decca officially announced a press run of 200 for RSM.1, and we can agree there are no more, there may be less. As far as RSD-1, there may be more. It's been suggested that there may be as many as 1,000 but this claim has not been supported with hard evidence. The US version often fetches over $500 even in Very Good condition. The UK version however, often sells for over $5,000 in Very Good Plus condition. Despite the differences in US (stereo) and UK (mono) discs, both covers were printed in the U.S. and show the Stones in studio during the Let it Bleed sessions. Be wary of two important issues: 1. Produced in the U.K.

for export, the Stones Limited Edition Collectors Item LP has an almost identical jacket design (sans the small-type promo info on the original) and does not contain Love In Vain, Route 66, Everybody Needs Somebody To Love, Around and Around, Off The Hook, Under My Thumb, or Sympathy For The Devil - and includes Doncha Bother Me, High and Dry, No Expectations, Dear Doctor & Flight 505. 2. Be wary of any edition, as many counterfeits exist of this title. All items, descriptions, reviews, and images contained in /the_rolling_stones/, and its sub-sections, were compiled solely by AC Palacio. This web space is sponsored by BeatZenith.com Music & Collectibles: Please view our Information Center for product, payment, shipping, as well as other documentation. To view a list of the most recent web site catalog updates: CLICK HERE FOR NEWEST ADDITIONS . For up-to-the-minute catalog updates, please request one from our orders page. Contact Us : BeatZenith@beatzenith.com Send mail to Brian Darwin at the above address with other questions or comments about this web site.

Send mail to AC Palacio with questions or comments about the Rolling Stones INFO section. BeatZenith, BeatZenith.com and Music Corpora are all Copyright ï¿½ 1998-2008, BeatZenith Music Source Online. Rolling Stones Label Album Discography Rolling Stones Label Album Discography By Patrice Eyries, David Edwards, and Mike Callahan Last update: February 20, 2000 The Rolling Stones came to Atlantic after eight years with the British Decca and the American London labels. In 1971, they announced their intention to form their own label and were bombarded with offers from various record labels for distribution. No one knows what thought process the Stones went through to make their pick. If big money was to be the deciding factor, the offers from Warner Brothers, CBS and RCA were at the top of the heap. If sentimentality was to be involved, then the two top contenders would be Chess and Atlantic.

The Stones early songbook was heavily loaded with Chess recorded songs by Muddy Waters, Bo Diddley and Howlin' Wolf, and later they had been favoring the soulful sounds coming from Atlantic by Solomon Burke, Otis Redding, Don Covay and the Drifters. The Stones visited the Chess offices in New York, recently moved from Chicago by GRT, who had recently purchased the Chess labels from the Chess brothers. The Rolling Stones were not impressed with cold impersonal atmosphere at the new Chess Records/GRT, but they were impressed with one person there, Marshall Chess, the son of Chess founder Leonard Chess. Marshall Chess was a fan of the Rolling Stones and was their age. Atlantic was a complete contrast to the new Chess. It was still managed by one of the two founders, Ahmet Ertegun, and Ahmet impressed the Stones as someone with a real love of music. In addition to that, Atlantic had proved to be very good in marketing, promoting and distributing records. The Rolling Stones appointed Atlantic as their label's distributor and made Marshall Chess the label's Manager. The Rolling Stones label was to be used for new talent discovered by the Stones, but that aspect never really came to pass.

Apart from their own recordings, the only records on the label were a record featuring Moroccan pipes recorded by Brian Jones, a budget priced jam session album featuring some of the Stones and their pianist Nicky Hopkins, two solo albums by Bill Wyman, and a couple of reggae albums by Peter Tosh. Based on the limited number of albums on Rolling Stones records, it's doubtful Atlantic ever recouped their investment, but it did give Atlantic prestige to have the Rolling Stones on the label and gave them even more respectability in the rock marketplace. We would appreciate any additions or corrections to this discography. Just send them to us via e-mail . Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with Rolling Stones or Atlantic Records. Should you be interested in acquiring albums listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 2000 by Mike Callahan.

ROLLING STONES LABEL ALBUM DISCOGRAPHY Number - Title - Artist [Release Date] (Chart) Contents 59100 series: COC 59100 - Sticky Fingers - The Rolling Stones [1971] (5-71, #1) The cover on this album was by Andy Warhol, and included a real zipper in picture of a pair of pants on the cover. This zipper became a problem because it was causing damage to the records during shipment. The solution was to pull the zipper down so the zipper pull was located over the label portion of the record. Brown Sugar/Sway/Wild Horses/Can't You Hear Me Knocking/You Gotta Move//Bitch/I Got The Blues/Sister Morphine/Dead Flowers/Moonlight Mile COC 59101 - Goat's Head Soup - The Rolling Stones [1973] (9-73, #1) Dancing With Mr.

D./100 Years Ago/Coming Down Again/Doo Doo Doo Doo Doo (Heartbreaker)/Angie//Silver Train/Hide Your Love/Winter/Can You Hear The Music/Star Star COC 59102 - Monkey Grip - Bill Wyman [1974] (6-74, #99) I Wanna Get Me A Gun/Crazy Woman/Pussy/Mighty Fine Time/Monkey Grip Glue//What A Blow/White Lightnin'/I'll Pull You Thro'/It's A Wonder 39100 series: The Rolling Stones Record label 39100 series was distributed by Atlantic. The Rolling Stones label is yellow with black printing. There is a red lips/tongue logo to the left of the center hole. The promotional label is white with black printing, same graphics but the logo does not appear because of the absence of the red printing.

COC 39100 - Jamming With Edward - Nicky Hopkins, Mick Jagger, Charlie Watts, Bill Wyman and Ry Cooder [1972] (2-72, #33) Boudoir Stomp/It Hurts Me Too/Edward's Thrump Up//Blow With Ry/Interlude A La El Hopo/The Loveliest Night of the Year/Highland Fling COC 39101 - COC 39103 - COC 39104 - COC 39105 - Sticky Fingers - The Rolling Stones [1977] Reissue of Rolling Stones COC 59100. Brown Sugar/Sway/Wild Horses/Can't You Hear Me Knocking/You Gotta Move//Bitch/I Got The Blues/Sister Morphine/Dead Flowers/Moonlight Mile COC 39106 - Goat's Head Soup - The Rolling Stones [1977] Reissue of Rolling Stones COC 59101. Dancing With Mr.

D./100 Years Ago/Coming Down Again/Doo Doo Doo Doo Doo (Heartbreaker)/Angie//Silver Train/Hide Your Love/Winter/Can You Hear The Music/Star Star COC 39107 - Made In The Shade - The Rolling Stones [1977] Reissue of Rolling Stones COC 79102. Angie/Bitch/Brown Sugar/Dance Little Sister/Doo Doo Doo Doo Doo (Heartbreaker)/Happy/It's Only Rock 'N' Roll (But I Like It)/Rip This Joint/Tumbling Dice/Wild Horses COC 39108 - Some Girls - The Rolling Stones [1978] (6-78, #1) The original covers had die cut holes which showed faces on the inner sleeve. Two of the faces on the inner sleeve were Lucille Ball and Farrah Fawcett. Threatened legal action forced the removal of these two faces on later pressings.

Miss You/When The Whip Comes Down/Just My Imagination (Running Away With Me)/Some Girls/Lies//Far Away Eyes/Respectable/Before They Make Me Run/Beast Of Burden/Shattered COC 39109 - Bush Doctor - Peter Tosh [1978] (12-78, #104) (You Gotta Walk) Don't Look Back/Pick Myself Up/I'm The Toughest/Soon Come/Moses-The Prophet//Bush Doctor/Stand Firm/Dem Ha Fe Get A Beatin'/Creation COC 39110 - *COC 39111 - Mystic Man - Peter Tosh [1979] (8-79, #123) Buk-In-Hamm Palace/Can't You See/Crystal Ball/The Day The Dollar Die/Fight On/Jah Seh No/Mystic Man/Recruiting Soldiers/Rumours Of War COC 39112 - COC 39113 - Still Life (American Concert 1981) - The Rolling Stones [1982] (6-82, #5) Intro: Take

 The A Train - Duke Ellington & His Orchestra/Under My Thumb/Let's Spend The Night Together/Shattered/Twenty Flight Rock/Going To A Go Go//Let Me Go/Time Is On My Side/Just My Imagination (Running Away With Me)/Start Me Up/(I Can't Get No) Satisfaction/Outro - Playout: Star Spangled Banner - Jimi Hendrix 49100 series: COC 49100 - Brian Jones Presents The Pipes Of Pan At Joujouka - Brian Jones [1971] 79100 series: The QD- prefix below indicates a quadraphonic release.

COC/QD 79100 - Monkey Grip - Bill Wyman [1974] Reissue of Rolling Stones COC 59102.

I Wanna Get Me A Gun/Crazy Woman/Pussy/Mighty Fine Time/Monkey Grip Glue//What A Blow/White Lightnin'/I'll Pull You Thro'/It's A Wonder COC 79101 - It's Only Rock 'N' Roll - The Rolling Stones [1974] (11-74, #1) If You Can't Rock Me/Ain't Too Proud To Beg/It's Only Rock 'N' Roll (But I Like It)/Till The Next Goodbye/Time Waits For No One//Luxury/Dance Little Sister/If You Really Want To Be My Friend/Short And Curlies/Fingerprint File *COC 79102 - Made In The Shade - The Rolling Stones [1975] (6-75, #6) Angie/Bitch/Brown Sugar/Dance Little Sister/Doo Doo Doo Doo Doo (Heartbreaker)/Happy/It's Only Rock 'N' Roll (But I Like It)/Rip This Joint/Tumbling Dice/Wild Horses COC/QD 79103 - Stone Alone - Bill Wyman [1976] (3-76

, #166) A Quarter To Three/Gimme Just One Chance/Soul Satisfying/Apache Woman/Every Sixty Seconds/Get It On//Feet/Peanut Butter Time/Wine And Wimmen/If You Wanna Be Happy/What's The Point/No More Foolin' COC 79104 - Black And Blue - The Rolling Stones [1976] (5-76, #1) Hot Stuff/Hand Of Fate/Cherry Oh Baby/Memory Motel//Hey, Negrita/Melody/Fool To Cry/Crazy Mama 16000 series: The following Rolling Stones label records were issued in the 16000 Atlantic series.

(Atlantic Consolidated) COC 16015 - Emotional Rescue - The Rolling Stones [1980] (7-80, #1) Dance/Summer Romance/Send It To Me/Let Me Go/Indian Girl//Where The Boys Go/Down In The Hole/Emotional Rescue/She's So Cold/All About You COC 16028 - Sucking In The Seventies - The Rolling Stones [1981] (4-81, #15) Shattered/Everything Is Turning To Gold/Hot Stuff/Time Waits For No One/Fool To Cry//Mannish Boy/When The Whip Comes Down/If I Was A Dancer (Dance Pt.

2)/Crazy Mama/Beast Of Burden COC 16052 - Tattoo You - The Rolling Stones [1981] (9-81, #1) Start Me Up/Hang Fire/Slave/Little T And A/Black Limousine/Neighbours//Worried About You/Tops/Heaven/No Use In Crying/Waiting On A Friend Other series: COC 2-2900 - Exile On Main St. - The Rolling Stones [1972] (6-72, #1) (2-LP set) The original cover on this album had a front flap that was raised to allow the 2 records to be removed from the inside, later covers had a standard 2 opening jacket that allowed the records to be removed from the outside.

Rocks Off/Rip This Joint/Hip Shake (Shake Your Hips)/Casino Boogie/Tumbling Dice//Sweet Virginia/Torn And Frayed/Sweet Black Angel/Loving Cup//Happy/Turd On The Run/Ventilator Blues/Just Wanna See His Face/Let It Loose//All Down The Line/Stop Breaking Down/Shine A Light/Soul Survivor COC 2-9001 - Love You Live - The Rolling Stones [1977] (10-77, #5) (2-LP set) Intro (Excerpt From Fanfare For The Common Man)/Honky Tonk Women/If You Can't Rock Me - Get Off Of My Cloud/Happy/Hot Stuff/Star Star//Tumbling Dice/Fingerprint File/You Gotta Move/You Can't Always Get What You Want//Mannish Boy/Crackin' Up/Little Red Rooster/Around And Around//It's Only Rock 'N' Roll/Brown Sugar/Jumping Jack Flash/Sympathy For The Devil 90000 series: 90120-1 - Undercover - The Rolling Stones [1983] (11-83, #4)

 Undercover Of The Night/She Was Hot/Tie You Up (The Pain Of Love)/Wanna Hold You/Feel On Baby//Too Much Blood/Pretty Beat Up/Too Tough/All The Way Down/It Must Be Hell *90176-1 - Rewind (1971-1984) - The Rolling Stones [1984] (7-84, #86) Angie/Beast Of Burden/Brown Sugar/Emotional Rescue/Fool To Cry/Hang Fire/Miss You/Start Me Up/Tumbling Dice/Undercover Of The Night/Waiting On A Friend Promotional issues: PRB-164 - Interview with Mick Jagger by Tom Donahue - Mick Jagger [1971] 30000 series: The Rolling Stones label 30000 series was distributed by CBS Records.

OC 40250 - Dirty Work - The Rolling Stones [1986] (4-86, #4) One Hit (To The Body)/Fight/Harlem Shuffle/Hold Back/Too Rude//Winning Ugly/Back To Zero/Dirty Work/Had It With You/Sleep Tonight FC 40488 - Sticky Fingers - The Rolling Stones [1986] Reissue of Rolling Stones COC 59100. C2G 40489 - Exile On Main St. - The Rolling Stones [1986] Two record set. Reissue of Rolling Stones COC 2-2900. FC 40492 - Goat's Head Soup - The Rolling Stones [1986] Reissue of Rolling Stones COC 59101. FC 40493 - It's Only Rock 'N' Roll - The Rolling Stones [1986] Reissue of Rolling Stones COC 79101.

FC 40494 - Made In The Shade - The Rolling Stones [1986] Reissue of Rolling Stones COC 79102. FC 40495 - Black And Blue - The Rolling Stones [1986] Reissue of Rolling Stones COC 79104. C2G 40496 - Love You Live - The Rolling Stones [1986] Two record set. Reissue of Rolling Stones COC 2-9001. FC 40499 - Some Girls - The Rolling Stones [1986] Reissue of Rolling Stones COC 39108. FC 40500 - Emotional Rescue - The Rolling Stones [1986] Reissue of Rolling Stones COC 16015. FC 40501 - Sucking In The Seventies - The Rolling Stones [1986] Reissue of Rolling Stones COC 16028. FC 40502 - Tattoo You - The Rolling Stones [1986] Reissue of Rolling Stones COC 16052.

FC 40503 - Still Life (American Concert 1981) - The Rolling Stones [1986] Reissue of Rolling Stones COC 39113. FC 40504 - Undercover - The Rolling Stones [1986] Reissue of Rolling Stones 90120-1. FC 40505 - Rewind (1971-1984) - The Rolling Stones [1986] Reissue of Rolling Stones 90176-1.

OC 45333 - Steel Wheels - The Rolling Stones [1989] (9-89, #3) Sad Sad Sad/Mixed Emotions/Terrrifying/Hold On To Your Hat/Hearts For Sale/Blinded By Love//Rock And A Hard Place/Can't Be Seen/Almost Hear You Sigh/Continental Drift/Break The Spell/Slipping Away C 47456 - Flashpoint - The Rolling Stones [1991] (4-91, #16) (Intro) Continental Drift/Start Me Up/Sad Sad Sad/Miss You/Ruby Tuesday/You Can't Always Get What You Want/Factory Girl/Little Red Rooster//Paint It Black/Sympathy For The Devil/Brown Sugar/Jumping Jack Flash/Satisfaction/High Wire/Sex Drive 1991 – The Rolling Stones announced they’d signed a £20 million deal with Virgin Records | Rock History 1991 – The Rolling Stones announced they’d signed a £20 million deal with Virgin Records 1991 – The Rolling Stones announced they’d signed a £20 million deal with Virgin Records, to make three albums over six years

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Question: Which record label signed the Rolling Stones in 1991?
Answer: Virgin